Conference | Artistic Trade between Spain and Its Viceroyalties

Posted in conferences (to attend) by Editor on March 20, 2018

Plaza Mayor in Lima, 1680, oil on canvas
(Madrid: Museo de América)

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From the conference flyer:

Artistic Trade between Spain and Its Viceroyalties, 1500–1800
Keynes Hall, King’s College, University of Cambridge, 22 June 2018

This is the first conference in the United Kingdom devoted to artistic trade between Spain and its viceroyalties. Referring to Cambridge’s Spanish and colonial art collections and with the indispensable support of the King’s College Nigel Glendinning studentship, this conference brings together scholars specialized in the art from the Spanish Viceroyalties. The speakers will trace the artworks from their production, their movement with the help of agents and their collection and display at their destination. For further information, please contact Akemi Herráez Vossbrink at alh64@cam.ac.uk, and register for free at Eventbrite.


9:15  Akemi Herráez Vossbrink (University of Cambridge), Introductory Remarks

9:30  Keynote Speaker | Luisa Elena Alcalá (Universidad Autónoma de Madrid), Passageways of Art in the Atlantic World: Artists, Patrons, and Agents

10:00–11:30 | Workshops and Artists Producing Art for the Spanish Viceroyalties and Transitory Spaces
Chaired by Akemi Herráez Vossbrink (University of Cambridge)
• Holly Trusted (Victoria and Albert Museum), Shipwrecked Ivories: The Confluence of East and West
• Piers Baker Bates (The Open University), Traveling between the Viceroyalties: Artistic Translation in the Sixteenth-Century Hispanic World
• Escardiel González Estevez (Universidad de Sevilla), Alonso Vázquez between Seville, Mexico, and Manila, 1603–1608: The Paradigm of a ‘Global Artist’

13:30-15:00 | The Role of Agents Commercializing Artworks between Spain and Its Viceroyalties
Chaired by José Ramón Marcaida López (University of Saint Andrews)
• Sandra Van Ginhoven (Getty Research Institute, Research Associate), Spanish Transatlantic Agents and the Flemish Guilliam Forchondt in the Overseas Paintings Trade
• Corinna Gramatke (Technical University of Munich Chair of Conservation-Restoration), ‘The Portable Europe’: European Artworks for the Jesuit Province of Paraguay, 1608–1767
• Eduardo Lamas Delgado (Royal Institute for Cultural Heritage, Brussels), Madrilenian Painters and America: Artistic Production for Overseas Trade Networks and Their Possible Agents

16:00–17:30 | Collecting and Display in Private, Civil, and Religious Spaces in the Spanish Viceroyalties
Chaired by Jean Michel Massing (University of Cambridge)
• Kathryn Santner (Leverhulme Trust Fellow, ILAS, London), Conventual Art Collections and Artistic Exchange in the Colonial Viceroyalties
• Isabel Oleas Mogollón (University of Delaware), The Divine and the Self: Uses and Meanings of Mirrors in Quito’s Jesuit Church
• Veronika Winkler (Ludwig-Maximilians-Universität, München), Witnessing the Saint’s Life: Patrons and Hagiographical Painting Cycles of Viceregal Peru

ASECS 2018, Orlando

Posted in conferences (to attend) by Editor on March 15, 2018

2018 American Society for Eighteenth-Century Studies Conference
Hilton Orlando Buena Vista Palace, 22–24 March 2018

The 49th annual meeting of the American Society for Eighteenth-Century Studies takes place at the Hilton Orlando Buena Vista Palace. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by David Pullins and scheduled for Friday morning. Our annual luncheon and business meeting follows immediately after that panel. A selection of 26 additional panels is included below (of the 211 sessions scheduled, many others will, of course, interest HECAA members, including the return of the Women’s Caucus Masquerade Ball). For the full slate of offerings, see the program.

H E C A A  E V E N T S

Anne Schroder New Scholars Session (HECAA)
Friday, 23 March, 11:30–1:00, Palm I
Chair: David PULLINS, The Frick Collection
1. Margot BERNSTEIN, Columbia University, “Playing Footsie with Carmontelle: Misbehavior and Missteps in a Selection of Eighteenth-Century Profile Pictures”
2. Lauren WALTER, University of Florida, “Doctor, I think they have a case of Anglomanie: Marie Antoinette and the Princesse de Lamballe”
3. Maura GLEESON, University of Florida, “Imag[in]ing the Queen as Muse: A Closer Look at Fleury François Richard’s Portrait of la Reine Hortense

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Historians of Eighteenth-Century Art and Architecture Luncheon
Friday, 23 March, 1:00–2:30, Tangerine 4

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O T H E R  S E S S I O N S  R E L A T E D  T O  T H E  V I S U A L  A R T S

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Women, Portraiture, and Place
Thursday, 22 March, 8:00–9:30, Palm D
Chairs: Heidi A. STROBEL, University of Evansville, and Christina LINDEMAN, University of South Alabama
1. Laura ENGEL, Duquesne University, “Women in White: The Countess of Blessington, Elizabeth Inchbald, and Embodied Memory”
2. Kaitlin GRIMES, University of Missouri-Columbia, “The Materiality of Textiles and the Feminization of ‘Things’ in the Gendered Spaces of Rosalba Carriera’s Pastel Portraits”
3. Catherine M. JAFFE, Texas State University, “Women, Fashion, and Self-Fashioning: Two Portraits of María Lorenza de los Ríos, Marquesa de Fuerte-Híjar”
4. Sandra Gómez TODÓ, University of Iowa, “Portraying the Female Masquerader: Fashionability, Public Legitimacy, and the Moralities of the Mask in Georgian Masquerade Portraits”

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Biblical Painting in Eighteenth-Century Britain
Thursday, 22 March, 8:00–9:30, Palm F
Chair: Naomi BILLINGSLEY, University of Manchester
1. Mary PEACE, Sheffield Hallam University, “Reversing the Harlot’s Progress? The Figuring and Refiguring of Magdalens at the London Magdalen Hospital in the Eighteenth Century”
2. Bénédicte MIYAMOTO, Université Sorbonne Nouvelle – Paris 3, “1768–1805 – Hanging Biblical Paintings at the Royal Academy”
3. William LEVINE, Middle Tennessee State University, “Retaining the Visual Aura of Biblical Violence in a Commercial Culture in Some Illustrations to Macklin’s English Bible”

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New Scholarship in Art History (SEASECS)
Thursday, 22 March, 8:00–9:30, Sago 1
Chair: Melissa HYDE, University of Florida
1. Jessica FRIPP, Texas Christian University, “From Salon to Salon: Cochin’s and La Tour’s Portraits at the Salon of 1753”
2. Susanna CAVIGLIA, Duke University, “The Aesthetics of Walking in Rome”
3. Franny BROCK, University of North Carolina at Chapel Hill, “Madame de Genlis’ New Method and Women Drawing Teachers in Eighteenth-Century France”
4. Hyejin LEE, University of North Carolina at Chapel Hill, “Ballooning Memorabilia and the Politics of Remembering Aerial Voyages at the End of the Ancien Régime”

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Currents of Empire: Toward a Global Material Culture
Thursday, 22 March, 9:45–11:15, Palm H
Chairs: Douglas FORDHAM, University of Virginia, and Emily CASEY, St. Mary’s College of Maryland
1. Romita RAY, Syracuse University, “Made in China? Tea in Colonial Calcutta”
2. Susan J. RAWLES, Virginia Museum of Fine Arts, “Academic Strategies and the Semiotics of Style: The Matter of Identity in British-Atlantic Portraiture”
3. Rachel ZIMMERMAN, Independent Scholar, “Banyans in Brazil: Elite Dress and Narratives of Interimperial Exchange”
4. Monica Anke HAHN, Temple University, “‘Harlequin Nabob’: Tilly Kettle in India”

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Inventing the Modern Stage in Eighteenth-Century France
Thursday, 22 March, 9:45–11:15, Palm K
Chair: Laurence MARIE, Columbia University
1. Aaron WILE, USC, “Coypel’s Theatricality: The Politics of Affect in the Regency”
2. Alexandra SCHAMEL, University of Munich, “Comedic Style and Anti-illusionism in Marivaux’s Arlequin poli par l’amour
3. Maria G. TRAUB, Neumann University, “The Woman Who Changed French Theater”
4. Kalin SMITH, McMaster University, “Backstage with the Whigs”

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Letting the Cat out of the Bag: The Cultural Work of Eighteenth-Century Pets
Thursday, 22 March, 9:45–11:15, Palm I
Chairs: Joanna M. GOHMANN, The Walters Art Museum, and Karissa E. BUSHMAN, University of Alabama in Huntsville
1. Bryan ALKEMEYER, The College of Wooster, “Drowned Cats in Eighteenth-Century English Literature”
2. Amanda STRASIK, Eastern Kentucky University, “Reconsidering Girls and Pets in Eighteenth-Century French Art”
3. Tara ZANARDI, Hunter College, CUNY, “Hounds at the Hunt: Charles III, Bourbon Legitimacy, and Empire”
4. Stephanie Alice HOWARD-SMITH, Queen Mary University of London, “Horace Walpole’s ‘Dogmanity’: Lapdogs and Male Sociability, 1738–1789”

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Mesmer Now
Thursday, 22 March, 11:30–1:00, Palm A
Chair: Michael YONAN, University of Missouri
1. Sara LULY, Kansas State University, “That Healing Feeling: Mesmerism and Materiality in Alissa Walser’s Am Anfang war die Nacht Musik (2011)”
2. Bruno BELHOSTE, Université de Paris, Sorbonne, “Mesmer’s Theory of Instinct and the Invention of Magnetic Somnambulism”
3. Oksana RYMARENKO, Russian State University for the Humanities, “The Long History of Mesmerism in Russia”

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Roundtable: How to Publish in an Eighteenth-Century Studies Journal
Thursday, 22 March, 4:15–5:45, Palm A
Chair: Matthew WYMAN-MCCARTHY, Eighteenth-Century Studies
1. Eve Trevor BANNET, Studies in Eighteenth-Century Culture
2. Tita CHICO, The Eighteenth Century: Theory and Interpretation
3. Robert MARKLEY, The Eighteenth Century: Theory and Interpretation
4. Sean MOORE, Eighteenth-Century Studies
5. Cedric D. REVERAND II, Eighteenth-Century Life

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Men of Parts and Parts of Men: Rethinking Eighteenth-Century Masculinity
Thursday, 22 March, 4:15–5:45, Palm K
Chair: Mary Beth HARRIS, Purdue University
1. Jeremy CHOW, University of California, Santa Barbara, “Part (of) Man?: The Exceptional Eunuch”
2. Sarah E. BERKOWITZ, University of Virginia, “Below Stares: Servants and the Anxiety of Domestic Masculinity”
3. Kelsey BROSNAN, Rutgers University, “Les Académiciennes and the Fragmented Male Nude”
4. Karen J. MANNA, University of Central Oklahoma, “Masculinity in Revolution: Comedy and Satire on the Late Eighteenth-Century Stage”

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The Eighteenth Century on Film (NEASECS)
Thursday, 22 March, 4:15–5:45, Sago 3
Chair: John H. O’NEILL, Hamilton College
1. Christopher C. NAGLE, Western Michigan University, “Austen’s Audio-Vision”
2. Kristin O’ROURKE, Dartmouth College, “Dressing and Undressing in the Rococo: Fantasies and Meanings of the Toilette on Screen”
3. Florian VAULEON, Purdue University, “The Eighteenth Century as Entertainment: The Changing Cinematic Representation of the French Revolution”
4. Nicole GARRET, Stony Brook University, “Where are the Jacobite Women in Outlander?”

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Street Scenes
Thursday, 22 March, 4:15–5:45, Sago 1
Chair: James WATT, University of York
1. Meredith GAMER, Columbia University, “Street Theater: ‘Vulgar’ Visualities from Tyburn Tree to the Newgate Drop”
2. Emily THAMES, Florida State University, “Views of Eighteenth-Century San Juan, Puerto Rico, in the Work of José Campeche (1751–1809)”
3. Alison O’BYRNE, University of York, “Picturing the Streets in Thomas Malton’s Picturesque Tour (1792)”
4. Ian NEWMAN, University of Notre Dame, “Porous Buildings”

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Members Reception
Thursday, 22 March, 6:00–7:30

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F R I D A Y , 2 3  M A R C H  2 0 1 8

Roundtable: Engaging with the Scholarship of Mary Sheriff (SEASECS)
Friday, 23 March, 8:00–9:30, Sago 4
Chair: Michael YONAN, University of Missouri
1. Katherine ARPEN, Auburn University
2. Meredith GAMER, Columbia University
3. Elizabeth C. MANSFIELD, Getty Foundation
4. Paula Rea RADISICH, Whittier College
5. Heidi A. STROBEL, University of Evansville

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The Imprint of Women: Printmakers, Printsellers, and Print Publishers
Friday, 23 March, 9:45–11:15, Palm L
Chairs: Cynthia ROMAN, The Lewis Walpole Library, Yale University, and Cristina S. MARTINEZ, University of Ottawa
1. Paris Amanda SPIES-GANS, Princeton University, “Maria Cosway’s ‘Genius’ for Print”
2. Heather MCPHERSON, University of Alabama at Birmingham, “Caroline Watson and the Theatre of Printmaking”
3. Kelsey D. MARTIN, University of North Carolina at Chapel Hill, “Divine Secrets of a Printmaking Sisterhood: The Professional and Familial Networks of the Hortemels and Hémery Sisters”
4. Amy TORBERT, Harvard Art Museums, “‘Hannah Humphrey, Widow Print Seller’: Women Publishing and Selling Prints in London, 1740–1800”

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Back to Black: Goya and Color (Ibero-American SECS)
Friday, 23 March, 9:45–11:15, Palm J
Chair: Frieda KOENINGER, Sam Houston State University
1. Eva SEBBAGH, Université Paris-Sorbonne (Paris-IV), “When Color Turns Into Setting: Ways and Means of the Use of Solid Colors in Goya’s Painting”
2. Elena DEANDA, Washington College, “Singing the Blues and Muddying the Waters: Goya, Cadalso, and the Color of Desire”
3. Guy TAL, Shenkar College of Engineering, Design, and Art, “The Pastel Colors of Goya’s Witches’ Sabbath

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Eighteenth-Century Sauce-Boxes
Friday, 23 March, 9:45–11:15, Palm F
Chair: Jade HIGA, University of Hawaii
1. Beth CSOMAY, Duquesne University, “Enchanting Elvira: Mary Robinson’s Radical in Vancenza: Or The Dangers of Credulity
2. Paula Rea RADISICH, Whittier College, “Saucy Face: Quentin de la Tour’s L’Auteur qui rit (The Artist Laughing) (1737)”
3. Sara TAVELA, Misericordia University, “Getting Saucy in Centlivre”

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Roundtable: Soft Materials, I
Friday, 23 March, 11:30–1:00, Palm J
Chair: Timothy CAMPBELL, University of Chicago
1. Daniel O’QUINN, University of Guelph, “Damask between Skin and Paper: The Soft Materials of Intimate Transculturation”
2. Douglas FORDHAM, University of Virginia, “Aquatint and ‘Soft’ Imperial Power”
3. Sarah T. WESTON, Yale University, “Transparent, Reflective, and Opaque Surfaces in Bernardin de Saint-Pierre’s Paul et Virginie
4. Annika MANN, Arizona State University, “The Fomite”
5. Alicia L. KERFOOT, SUNY College at Brockport, “Frances Burney’s Embroidered Mourning Piece: The Wanderer and the Materiality of Grief”

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Roundtable: Soft Materials, II
Friday, 23 March, 4:30–6:00, Palm J
Chair: Timothy CAMPBELL, University of Chicago
1. Sean SILVER, University of Michigan, “How Soft are Networks?”
2. Amelia RAUSER, Franklin and Marshall College, “Soft Neoclassicism: Looking Hard at Fashionable Dress”
3. Ashley HANNEBRINK, Harvard University, “Sculpting in Clay: The Softness of Neoclassical Terracotta Models”
4. Sara LANDRETH, University of Ottawa, “Cavendish’s 3D Printing: Soft Materials and Vanishing Figures”
5. David A. BREWER, The Ohio State University, “On Folding”

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Description d’une personne…ou de toutes sortes d’objets: Portraits in the Eighteenth Century (Society for Eighteenth-Century French Studies)
Friday, 23 March, 4:30–6:00, Palm F
Chair: Barbara ABRAMS, Suffolk University
1. Corinne STREICHER-ANGLADE, Université du Québec à Montréal, “Le Portrait (dé) voile” / “Portraiture (Un) Veiled”
2. Servanne WOODWARD, The University of Western Ontario, “Visagéités élusives” / “The Evasive Qualities of Facial Portraiture”
3. Mira MORGENSTERN, City College of New York, CUNY, “Seeing / through Portraits in La Nouvelle Héloise

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S A T U R D A Y ,  2 4  M A R C H  2 0 1 8

Material Culture in Eighteenth-Century Europe
Saturday, 24 March, 8:00–9:30, Palm K
Chair: Birgit TAUTZ, Bowdoin College
1. Monika NENON, University of Memphis, “Blue Hearts and Snuff Boxes: The Role of Objects in German Literary Circles of Sensibility”
2. Magelone BOLLEN, Independent Scholar, “Furnishing with Scissors: The Augsburger Klebealbum (ca. 1783)”
3. Lindsay DUNN, Texas Christian University, “Behind the Looking Glass: Marie-Louise, House of Habsburg-Lorraine, and Identity”
4. Sabine VOLK-BIRKE, Martin-Luther-University Halle-Wittenberg, “Sacred Pleasure / Idolatrous Vice: The Rosary”

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Goethe and the Visual Arts
Saturday, 24 March, 8:00–9:30, Palm F
Chair: Matt FEMINELLA, University of Alabama, Tuscaloosa
1. Andrea MEYERTHOLEN, University of Kansas, “Polarity, Empiricism, and Abstraction: Goethe and the Emergence of Abstract Art”
2. F. Corey ROBERTS, Calvin College, “From Aesthetic Experience to Artistic Inspiration: Visual Arts as the Impetus for Poetic Creation in Goethe’s Early Writings”
3. Peter ERICKSON, Colorado State University, “The ‘Primitive Hut’ in Eighteenth-Century Architecture Theory: Laugier, Goethe, Hegel”

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Non-Human Encounters
Saturday, 24 March, 8:00–9:30, Sunburst 2
Chair: Catherine CHIABAUT, Yale University
1. Nathan D. BROWN, Furman University, “Voltaire’s Lion: The Limits of Human(ism) in Voltaire’s Le Marseillais et le Lion
2. Pichaya DAMRONGPIWAT, Cornell University, “Birth and the Posthuman: Cats, Rabbits, and Frankenstein’s Monster”
3. Philippe S. ROBICHAUD, Université du Québec à Trois- Rivière/Paris-Sorbonne, “Un bruit d’une espèce nouvelle: Vitalist Materialism and the Human Voice”
4. Alexander WRAGGE-MORLEY, University College London, “The Connoisseur as Centaur: Humans, Animals, and Aesthetic Experience, 1700–1750”

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Freakery: The Limits of the Body
Saturday, 24 March, 9:45–11:15, Palm H
Chair: Stan BOOTH, University of Winchester
1. Erika MANDARINO, Tulane University, “M. de Listonai’s Moon Men, or, The Sixth Sense of Selenopolis”
2. Chris MOUNSEY, University of Winchester, “Sea-Green Incorruptible: Benjamin Martin and Other Prosthetic Eyes”
3. Charlotte ROBINSON, University of Winchester, “The Animate Extension: Jane Barker and her Amanuensis”
4. Karissa E. BUSHMAN, University of Alabama in Huntsville, “Disability and Damaged Bodies in Goya’s Works”

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The Visual Text and the Textual Visual
Saturday, 24 March, 9:45–11:15, Palm L
Chair: Leah ORR, University of Louisiana, Lafayette
1. Tili Boon CUILLÉ, Washington University in St. Louis, “Illustration as Mediation in Duclos’ Acajou et Zirphile
2. Elizabeth DEANS, George Washington University, “Dabbling in Design: Architectural Albums as Autodidactic Tools for Amateurs”
3. Teri DOERKSEN, Mansfield University, “Teasing the Text, or, Miss Tit-Ups Visits the Convent: Illustration Cards as Eighteenth-Century Fanfic”
4. Andreas MUELLER, University of Northern Colorado, “Visualizing Trauma and Transgenerational Memory in Defoe’s A Journal of the Plague Year

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Maker’s Knowledge
Saturday, 24 March, 9:45–11:15, Palm K
Chairs: Ruth MACK, SUNY Buffalo, and Sean SILVER, University of Michigan, Ann Arbor
1. Lynn FESTA, Rutgers University, “Bricoleur Realism (or Maker’s Knowledge as Reality Effect)”
2. Crystal LAKE, Wright State University, “Making Fictions: Early Readers and Their Crafts”
3. Maggie MCGOWAN, Yale University, “Cultivating Skill in William Cowper’s The Task”
4. Chloe Wigston SMITH, University of York, “Craft and Chemistry in the School of Arts”

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Art, Alchemy, and Royal Rivalry: The Eighteenth-Century Manufactory
Saturday, 24 March, 9:45–11:15, Palm F
Chair: Tara ZANARDI, Hunter College, CUNY
1. Elizabeth LIEBMAN, Independent Scholar, “Recreating Adam: Artificial Stone in Eighteenth-Century Britain”
2. Sarah GRANDIN, Harvard University, “‘De la plus grande estendue’: Savonnerie Carpets and the Manufacture of Grandeur under Louis XIV”
3. Agnieszka Anna FICEK, The Graduate Center, CUNY, “Courtly Figures: Collecting Meissen and the Creation of National Identity in the Court of Augustus II and Beyond”
4. Matthew MARTIN, National Gallery of Victoria, Melbourne, “Porcelain and Royal Power—The Royal Sèvres Manufactory”

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Sharing the World through Travel Writing and Painting (SEASECS)
Saturday, 24 March, 2:00–3:30, Sunburst 1
Chair: Denis GRÉLÉ, University of Memphis
1. Charles A. GRAIR, Texas Tech University, “Georg Forster, Johann Goethe, and the Development of Modern Travel Narratives in Germany”
2. Lauren DISALVO, Dixie State University, “The ‘Flying Figures’ of Roman Wall Painting and the Female Portrait in the Long Eighteenth Century”
3. Mandy PAIGE-LOVINGOOD, University of North Carolina at Chapel Hill, “Agency in Absence: Contextualizing Jean-Baptiste Debret’s Slave Images in the Long Eighteenth Century”

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Masquerade Ball
Saturday, 24 March, 9:00pm
To Benefit the ‘Now and Later Non-Tenure Track Fund’
Sponsored by the ASECS Executive Board and the Women’s Caucus; tickets and masks available for purchase at the door (cash or check)

SAHGB Architectural History Workshop, 2018

Posted in conferences (to attend) by Editor on March 8, 2018

The Society of Architectural Historians of Great Britain
Workshop for Doctoral Students and Early Career Scholars
The Gallery, London, 17 March 2018

The Society is pleased to announce the programme for this year’s Architectural History Workshop on Saturday 17 March 2018 at The Gallery, 70 Cowcross Street, London, EC1 6EL. This is our annual event for Postgraduate Students and Early Career Scholars, convened by the Society’s PhD Scholars, to share and develop their ideas through ‘lightning’ rounds, where contributors are invited to speak for ten minutes either as a short developed paper, discursive ramble, thematic exploration, or any format that explores and presents their PhD research.

The Workshop will also include a Careers in Architectural History Roundtable, featuring Ben Cowell, Director of the Historic Houses Association, and Neal Shasore, Leverhulme Early Career Fellow at Liverpool School of Architecture. The full programme and registration form can be found on our website.  As places are limited, booking is essential. Register online until 10 March 2018.

Conference | The Properly Dressed Window

Posted in books, conferences (to attend) by Editor on February 27, 2018

From Winterthur:

The Properly Dressed Window: Curtain Design Over Time
Winterthur, Wilmington, Delaware, 15–16 May 2018

Join Winterthur staff, visiting scholars, designers, and fellow ‘textilians’ for a two-day program of lectures and hands-on workshops. For information and registration, please call 800.448.3883. Registration opens on February 6, 2018. Read The Journal of Antiques and Collectibles article on curtains at Winterthur.

Sandy Brown, with an introduction by Linda Eaton and a foreword by Thomas Jayne, The Well-Dressed Window: Curtains at Winterthur (New York: The Monacelli Press, 2017), 208 pages, ISBN: 9781580934589, $50.

Today Henry Francis du Pont, the force behind the transformation of Winterthur from a family house to the premier museum of American decorative arts, is recognized, along with Henry Davis Sleeper and Elsie de Wolfe, as one of the early leaders of interior design in this country.

Working with architects, curators, and antiques dealers, du Pont created some 175 room settings within the house. He assembled his rooms using architectural elements from historic houses along the East Coast and filled them with an extraordinary collection of American furniture and decorative arts. Du Pont’s unique talent was his ability to arrange historically related objects in a beautiful way, in settings that enhanced their shape and form through the choice of color, textiles, and style.

Du Pont paid particular attention to the design of the curtains, and The Well-Dressed Window surveys his achievement, explaining how the fabrics were selected as well as their relationship to the architecture and other decorative elements in the rooms. Forty rooms are presented, each specially photographed to show the overall space in addition to details of fabric and trim. A series of stereoviews taken in the 1930s as well as other period photographs reveal the evolution of the window treatments and upholstery over nearly sixty years. Of particular interest is du Pont’s seasonal changing of the curtains, which were rotated throughout the year as the lighting and colors in the surrounding garden shifted.

Workshop | Probing Provenance

Posted in conferences (to attend) by Editor on February 24, 2018

From the workshop flyer:

Probing Provenance: Sources, Methods and Implications
Institute for Historical Research, London, 28 March 2018

Monogram bookplate: M L y C (Provenance Online Project) by Provenance Online Project (flickr) Penn Libraries call number: IC55 G9315 590p 1591.

The Society for the History of Collecting is pleased to announce a workshop on provenance on 28th March 2018. Organised at the Institute for Historical Research (IHR), Senate House in London, it will bring together distinguished researchers with a range of geographical and period expertise: Kate Hill, Claire Wintle, Alexis Ashot, Niko Munz, Melanie Aspey, and Alexandra Gerstein). The aim is to have a broad methodological discussion that introduces provenance as a concept and a practice: what skills it requires; what sources it can draw on; how it can be effectively deployed; what other histories and processes it can illuminate. The event will run from 10.00 until 13.00 in Wolfson Room 1 of the IHR. It is open to all, and doctoral students and early career researchers are especially welcome to attend.

Provenance is a central tool and indispensable concept within the history of collecting. Not only does it permit scholars to retrace the chain of lost collections, and to reconstruct the biography of an object. Provenance can also act as badge of esteem, a promise of authenticity, a financial asset and a narrative device. In recent years, it has generated not just vast digital databases centred on the art market, but also fascinating international exhibitions and intense clashes over the restitution of cultural property. Provenance is not merely one more research tool, then. Rather, it is central for understanding the itinerary of objects and the transformative effects of ownership.

The workshop has been organized by Adriana Turpin (Chairman of the Society), Tom Stammers (University of Durham), Silvia Davoli (Strawberry Hill Trust/ University of Oxford), and Barbara Pezzini (University of Manchester/ National Gallery). Booking, via Eventbright, is essential. For any questions about the day please contact Tom Stammers: t.e.stammers@durham.ac.uk.

Conference | Art History Before English

Posted in conferences (to attend) by Editor on February 24, 2018

From the Kunsthistorisches Institut in Florenz:

Art History Before English: Negotiating a European ‘Lingua Franca’ from Vasari to the Present
Kunsthistorisches Institut in Florenz, Florence, 8–10 March 2018

Organized by Alessandro Nova in collaboration with Robert Brennan, Marco Mascolo, and Oliver O’Donnell within the framework of the research project Languages of Art History

The expansion of art historical scholarship across cultural and linguistic boundaries reveals problems with the inherited vocabularies of the discipline. Today, for better or worse, English has become an ever more prominent common language of academic discourse, art history being no exception, and yet the problems this development poses are not without historical precedent within the European tradition of art writing.

Alongside the task of adapting classical concepts to modern usage, scholars have long had to contend with what was arguably the ‘lingua franca’ of art historical discourse in their own time: Italian in the 16th and 17th centuries, French in the 17th and 18th, and German in the 19th and 20th. This conference seeks to leverage this succession of dominant languages in order to shed light on the present assumption of English as a ‘lingua franca’ of art history. In so doing, the conference seeks to evaluate how Italian, French, and German have decisively shaped the discipline, assembling a cache of certain terms, concepts, and modes of thought—often to the exclusion of others—that remain central across a wide variety of languages in the field today.

T H U R S D A Y ,  8  M A R C H  2 0 1 8

14:30  Introduction
Alessandro Nova, C. Oliver O’Donnell, and Robert Brennan

15:00  Panel 1 | Inventions of Academic Languages
Chair: Alessandro Nova
• Massimiliano Rossi (Università del Salento, Lecce), Di lotta e di governo: Lessico, codici e categorie critiche degli scritti accademici sull’arte dagli Umidi alla Crusca
• Robert Williams (University of California, Santa Barbara), Terms of Art

16:20  Coffee Break

16:50  Panel 1, continued
Chair: Marco Mascolo and Robert Brennan
• Jacqueline Lichtenstein (Université Paris-Sorbonne), The Conferences of the Royal Academy of Painting and Sculpture: A New Discourse on the Arts
• Olivier Bonfait (Université de Bourgogne), La lingua francese e la scrittura della storia dell’arte, 1660–1700
• John Leavitt (Université de Montréal), Language Ideologies and the Inventions of Art History

F R I D A Y ,  9  M A R C H  2 0 1 8

9:30  Panel 2 | Assimilation and Transformation of Academic Models
• Alessandra Russo (Columbia University), Antiguidade and Pintura: Concepts Redefined by a Novel Artistic Universality
• Francesca Terrenato (Università degli Studi di Roma La Sapienza), In the Manner of Vasari: Italian Loanwords and Calques in Karel van Mander’s Schilder-Boeck (1604)

10:50  Coffee Break

11:20  Panel 3 | In the Shadow of the Academy
Chair: Alexander Nagel
• Michael Fried (Johns Hopkins University), Reading Diderot in America
• Stephen Bann (University of Bristol), Historical Genre: Negotiating a Hybrid Concept in and outside of 19th-Century France

12:40  Lunch Break

14:00  Panel 4 | Translating and Untranslating Art Writing
Chair: Brigitte Sölch
• Elisabeth Décultot (Universität Halle), Winckelmanns Sprachen: Kunsttheorie als Übersetzung
• Andreas Beyer (Universität Basel), Art Historical Untranslatables
• Christopher S. Wood (New York University), Why did the ‘Renaissance’ Resist Translation?

16:00  Coffee Break

16:30  Site Visit
Chapel of Saint Luke, Basilica della Santissima Annunziata, led by Fabian Jonietz (Kunsthistorisches Institut in Florenz) — for speakers only

S A T U R D A Y ,  1 0  M A R C H  2 0 1 8

9:30  Panel 5 | Ekphrasis in the 20th Century
Chair: Andreas Beyer
• Marco Mascolo (Kunsthistorisches Institut in Florenz), Roberto Longhi e la sua ricezione, tra ekphrasis e connoisseurship
• Émilie Passignat (Università Ca’ Foscari, Venezia), Nello specchio della traduzione: l’ecfrasi longhiana alla prova della lingua francese

10:50  Coffee Break

11:20  Panel 6 | Art History and Social Science
Chair: Hana Gründler
• C. Oliver O’Donnell (Kunsthistorisches Institut in Florenz), Schapiro and Lévi-Strauss: Structuralist Arguments among Color Field Paintings
• Whitney Davis (University of California, Berkeley), Reading-In: Franz Boas and the Languages of the Anthropology of Art

12:45  Concluding Discussion

Image: Joseph Kosuth, Ten Locations of Meaning, 2009 


Symposium | Continuing Curiosity: The Art of the Peales

Posted in conferences (to attend) by Editor on February 16, 2018

From the Philadelphia Museum of Art:

Continuing Curiosity: The Art of the Peales
Philadelphia Museum of Art, 17 February 2018

On Saturday, 17 February, five Peale scholars share their ongoing research in the context of the Museum’s new publication, The Art of the Peales in the Philadelphia Museum of Art: Adaptations and Innovations. Registration required, $20 (Philadelphia Museum of Art members free). Included in the fee is general museum admission for Friday evening’s ‘Gallery Conversation’ (starting at 5:45pm), which includes an installation discussion with scholars, along with musical programming.

Morning Session | 10:30–12:30
• Welcome and introduction, Carol Soltis (Project Associate Curator, Philadelphia Museum of Art)
• ‘Pealed all Around’: The Making of Curious Revolutionaries at the American Philosophical Society, Amy Noel Ellison (Andrew W. Mellon Post-Doctoral Curatorial Fellow, American Philosophical Society)
• Under My Skin: Raphaelle Peale’s Venus Rising from the Sea-A Deception and the Hidden Mechanisms of Disease, Lauren Lessing (Mirken Director of Academic and Public Programs, Colby College Museum of Art)

Afternoon Session | 1:30–4:30
• Looking ahead with Charles Peale Polk, Linda Simmons (Curator Emerita, The Corcoran Gallery
• Replicating Nature: The Peales and Their Still Lifes, Lance Humphries (Executive Director, Mount Vernon Place Conservancy)
• Hanging Shakespeare: Charles Willson Peale and Benjamin West at PAFA in 1807, Wendy Bellion (Professor, Sewell C. Biggs Chair in American Art History, University of Delaware)


Study Day | Pots, Prints & Politics: Ceramics with an Agenda

Posted in conferences (to attend) by Editor on January 29, 2018

From the programme:

Pots, Prints, and Politics: Ceramics with an Agenda
The British Museum, London, 16 February 2018

Creamware Mug, Staffordhire, ca. 1803 (London: The British Museum).

Join British Museum curators from the Departments of Asia, Prints and Drawings, and Britain, Europe, and Prehistory in this one-day study day—held in conjunction with the exhibition Pots with Attitude: British Satire on Ceramics, 1760–1830—addressing historical and modern ceramics that have political and other messages, which have been inspired by prints and printmaking.

Since the introduction of paper and woodblock printing in China around AD 600, through to the invention of woodcuts printed on paper and the printing press in Germany in the 15th century, the print medium has been used around the world to disseminate ideas and knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express issues including piety, propaganda, self-promotion, gender, national, and regional identities.

This study day is open to all and will draw on the over 500,000 records catalogued by the Prints and Drawing department, which can be searched on the British Museum’s collection online. Stevenson Lecture Theatre, British Museum, Friday, 16 February 2018; £15 / £12.50 concessions. Book online here.


9:30  Registration

10:00  Session A
• Patricia Ferguson (Project Curator, Monument Trust, 18th-Century Prints and Ceramics, Britain, Europe and Prehistory, and Prints and Drawings), Introduction
• Yu-ping Luk (Curator: Chinese Paintings Prints and Central Asia, Asia), Woodblock Prints and Images on Ceramics in China: Some 14th- to 17th-Century Examples
• Dora Thornton (Curator: Renaissance Collection, Waddesdon Bequest, Britain, Europe and Prehistory), ‘Take Note’: Looking at Italian Renaissance Potters, Printmaking, and Politics through the Lens of the British Museum Collection

11:00  Coffee Break

11:30  Session B
• Eloise Donnelly (Collaborative Doctoral Award Student, Britain, Europe and Prehistory), Prints, Pots, and Protestantism: The Thomas Collection of German Stoneware
• Jessica Harrison-Hall (Curator: Chinese Ceramics, Percival David, Asia), Shameless Self-Promotion? European Eighteenth-Century Prints and Chinese Pots

12:30 Lunch — available for purchase in the Museum cafes

14:00  Session C
• Sheila O’Connell (Former Curator, British Prints, Prints and Drawings), Jefferyes Hamett O’Neale (fl.1750–1801): Pots and Prints
• Patricia Ferguson (Project Curator, Monument Trust), Spode and the French Invasion Scare: Profiteering or Propaganda?
• Antony Griffiths (Former Keeper, Department of Prints and Drawings), Thoughts on Prints and Pots: Beyond Politics

15:15  Coffee Break

15:45  Session D
• Mary Ginsberg (Research Fellow, Asia), Appropriated Heroes: Prints, Pots, and Politics in Revolutionary China
• Eleanor Hyun (Curator, Korean Collections, Asia), Circulating Images: North Korean Pots and Prints

16:30   Tour of Pots with Attitude: British Satire on Ceramics, 1760–1830, in Room 90a.

Conference | Circulating Crafts

Posted in conferences (to attend) by Editor on January 15, 2018

I’m always interested to see how one might extend the significance of a CAA panel beyond the conference itself. Here’s an interesting attempt with programming in Paris and LA. Last month I noted the first CAA panel, but I didn’t connect it to these other events. CAH

From the programme:

Circulating Crafts: Art, Agency, and the Making of Identities, 1600–2000
Paris, 24 January 2018 / Los Angeles, 21 February 2018

Organized by Yaëlle Biro and Noémie Étienne

Circulation and imitation of cultural products are key factors in shaping the material world—as well as identities. Many objects or techniques that came to be seen as local, authentic and typical are in fact entangled in complex transnational narratives tied to a history of appropriation, imperialism, and the commercial phenomenon of supply and demand.

In the 17th and 18th centuries, artists and craftspeople in Europe appropriated foreign techniques such as porcelain, textiles, or lacquers that eventually shaped local European identities. During the 19th century, Western consumers looked for genuine goods produced outside of industry, and the demand of Bourgeois tourism created a new market of authentic souvenirs and forgeries alike. Furthermore, the 20th century saw the (re)-emergence of local ‘Schools’ of art and crafts as responses to political changes, anthropological research, and/or tourist demand. This multi-part conference will explore how technical knowledge, immaterial desires, and political agendas impacted the production and consumption of visual and material culture in different times and places. A new scrutiny of this back and forth between demanders and suppliers will allow us to map anew a multi-directional market for cultural goods in which the source countries could be positioned at the center.

Contacts: yaelle.biro@metmuseum.org and noemie.etienne@ikg.unibe.ch

2 4  J A N U A R Y  2 0 1 8

Part 1 | Workshop: Circulating Crafts
La Colonie, 178 boulevard Lafayette, 75010 Paris

9.00  Welcome and Introduction by Yaëlle Biro and Noémie Étienne

9.15  Session A
• Ariane Fennetaux (Université Paris Diderot), From Coromandel with Love: The Glocalisation of Indian Cottons in the 17th and 18th Centuries
• Chonja Lee (Bern University), Made in Switzerland: How Swiss Indiennes Became Autochtone and Dressed the World at the Same Time
• Aziza Gril-Mariotte (Université de Haute-Alsace), Modèles, emprunts et circulation des formes occidentales dans les toiles peintes au XVIIIe siècle

11.15  Coffee break

11.30  Session B
• James Green (University of East Anglia), Appropriating Kongo Colors: Red, White and Black in 19th-Century English Trade Cloth
• Manuel Charpy, CNRS, Lille), Changing Sides? Consumption and Political Uses of Western Clothing in Congo, 1830–1960

13.00  Lunch break

14.00  Session C
• Thomas Grillot (CNRS, Paris), Marketing Family Heirlooms: Three Generations of American Indian Artists in the Northern Plains
• Rémi Labrusse (Université Paris-Nanterre), Hybridité et identité en Algérie à la veille de l’invasion française: le cas du palais du Bey de Constantine

15.20  Coffee break

15.35  Session D
• Julien Volper (Tervuren Museum), Du Bénin à l’Inde en passant par le Congo: Origines, in uences et voyages d’objets africains du XIXe et du XXe siècles
• Jonathan Fine (Ethnologisches Museum, Berlin), Crafting Culture: The Co-Production of ‘Bamum’ Art in the 1920s
• Gaëlle Beaujean (Musée du quai Branly – Jacques Chirac), Sirène, vierge, charmeuse de serpent et Atlantique

17.35  Discussion

2 1  F E B R U A R Y  2 0 1 8

Part 2 | Conference Panels: Art, Agency, and the Making of Identities, 1600–2000
College Art Association, Convention Center, Los Angeles

2.00  Panel I
• Helen Glaister (SOAS, University of London / Victoria & Albert Museum, London), The Picturesque in Peking: European Decoration at the Qing Court
• Dorothy Armstrong (Royal College of Art / Victoria & Albert Museum, London), A Transnational Loop: Pakistan’s Repossession of the Oriental Carpet Imaginary and its Production
• Tingting Xu (University of Chicago), The Rivers Folded: Souvenir Accordion Panoramas in the Late 19th-Century Global Tourism
• Karen Milbourne (Smithsonian National Museum of African Art), Lozi Style: King Lewanika and the Marketing of Barotseland

4.00  Panel II
• Ashley Miller (UC Berkeley), ‘What is Colonial Art and Can It Be Modern?’: Moroccan Modernisms at the Art Deco Exposition in Paris, 1925
• Victoria Rovine (University of North Carolina), A Wider Loom: Textiles and Colonial Politics of Authenticity in the Soudan Français
• Gail Levin (The City University of New York), Frida Kahlo’s Invention of Jewish Identity
• Niko Vicario (Amherst College), From Duco to Comex: The Politics of Synthetic Paint in the Americas

Illustration: French textile design for the West African slave trade market, Nantes, 18th century., “L’album des indiennes de traite de Favre, Petitpierre et Cie” (Henry-René d’Allemagne, La Toile imprimée et les indiennes de traite, Paris, Gründ, 1942, plate 69).

Symposium | Taking Exception: Women, Gender, Representation

Posted in conferences (to attend) by Editor on January 14, 2018

From the symposium announcement:

The 2018 Bettie Allison Rand Symposium in Art History
Taking Exception: Women, Gender, Representation in the Eighteenth Century
A Symposium in Honor of Mary D. Sheriff
Ackland Art Museum, University of North Carolina at Chapel Hill, 1–3 February 2018

The 2018 Bettie Allison Rand Symposium will take place in tandem the Ackland Art Museum exhibition, Becoming a Woman in the Age of Enlightenment: French Art from the Horvitz Collection (open in Chapel Hill from 26 January until 8 April 2018). The exhibition is curated by Melissa Hyde, Professor of Art History, University of Florida Research Foundation Professor, University of Florida, and the late Mary D. Sheriff, W.R. Kenan Jr. Distinguished Professor of Art History, The University of North Carolina at Chapel Hill. It is organized by Alvin L. Clark, Jr, Curator, The Horvitz Collection and The J.E. Horvitz Research Curator, Harvard Art Museums/Fogg.

Through a generous gift to the UNC Arts and Sciences Foundation, William G. Rand established this lecture series in memory of his late wife, Bettie Allison Rand. This funding allows the Department of Art to bring one or more eminent art historians to UNC-CH every other year for residencies of various lengths. While they are in Chapel Hill, these scholars present a series of lectures and interact with undergraduate and graduate art history and studio art students. More information about the series can be found here.

Speakers will include
• Vivian Cameron, Independent Scholar
• Susanna Caviglia, Assistant Professor of Art, Art History & Visual Studies, Duke University
• Melissa Hyde, Professor of Art & Art History, University of Florida
• Anne Lafont, Director of Studies, L’Ecole des Hautes Etudes En Sciences Sociales
• Christopher Johns, Norman L. and Roselea J. Goldberg Professor of History of Art, Vanderbilt University
• Dorothy Johnson, Roy J. Carver Professor of Art History, University of Iowa
• Kathleen Nicholson, Professor Emerita of the History of Art and Architecture, University of Oregon
• Suzanne Pucci, Professor of Modern & Classical Languages, Literatures, & Cultures, University of Kentucky
• Abigail Solomon-Godeau, Professor Emerita of the History of Art & Architecture, University of California Santa Barbara
• Susan Taylor Leduc, Independent Scholar
• Michael Yonan, Associate Professor of Art History and Archaeology, University of Missouri

A memorial for Mary D. Sheriff will be held on Saturday, February 3rd at 1:00pm.

For more schedule details and to register to attend, visit the symposium website.

Contact: Tania C. String, tcstring@email.unc.edu